Fernando Suárez's three-dimensional pieces are linked to fantastic realism and expressionism, worked in iron and bronze as favorite materials, joining the tensions and formal oppositions of the elements that make them up, a subtle search for spatial transformation that merges with a steely Suárez, discovers both the formal reinvention of the insect fauna, as well as the situations that speak of the vital tragedy of man, imprisoned between methacrylate blocks or trying to move the world only with intelligence, getting the iron sculptures to give emphatic its scope of representation in which metal rods coexist that recall some of Bordes's works and above all, due to the intricacy of its forms, the sculptor and draftsman José de Creeft, who lived his aesthetic adventure from 1939 until his death in the United States.

The use of mirrors serves to find the other side of human faces, animals and things, to decant in the elusive and fleeting the heaviness of the three-dimensional projection that raises with the mutilations and the possibilities of dislocation a very new explanation of the compositional versatility.